The latest firmware for the F3 was just released a few days ago, and it adds a great new option. Version 1.40, which can be download here, adds S-Log into the Picture Profile menu of the camera. This allows anyone to turn on S-Log without the RGB key, although you still need the key for 4:4:4 output. Having S-Log in the profiles menu allows adjustment to the other camera settings such as black level, color, and white balance. I have put together an S-log profile that matches the normal S-log mode and also a modified file that combines the S-log gamma mode with color and black levels. You can download the files individually here (S-log and AB-Slog) or my full camera settings here, which contain both files and updated scene files as well. Watch my video above to learn more, and make sure to check out the upcoming F3 classes in NY and LA.

AbelCine encourages comments on our blog posts, as long as they are relevant and respectful in tone. To further professional dialog, we strongly encourage the use of real names. We reserve the right to remove any comments that violate our Comment Policy.

squaredog

So does that mean that they’re gonna give me half of my money back for the S-Log upgrade now that half of it is useless?

scotty

Same here spent 4 grand for what again?

Jody

To be an early adopter. Been there, done that.

Richard

Hey Andy, if I install the new update on my F3, what impact will it have, if any, on my purchased S-log in the camera now?

cinemachan

I too wouldn’t mind getting anything… even a rebate for another product… and not that crappy zoom lenses they had… like the FS700… hmmmmm, that’ll be a good start.

Dschlair

Hmmm. Looks like Abel and Sony are working hard
at building trust and brand loyalty.

It would be naive to think that Sony or Abel
Would do the right thing and reimburse us lowly suckers

http://twitter.com/AndyShipsides Andy Shipsides

Hey Richard

The firmware will not change how S-log currently works in your camera.It just adds it to the picture profile mode as well. The RGB key S-log mode offers LUTs and EI mode, which the new version does not.

Andy

http://twitter.com/AndyShipsides Andy Shipsides

If Sony comes up with something we will let you know for sure. The RGB key does give you LUTs, EI mode, and 444 RGB output, which this new firmware doesn’t offer.

Jody

Is there a problem with your product that requires reimbursement?

Take29productions

Im still a little confused…. This allows a Slog picture profile to record to SxS cards, but if you turn on 422 1.5GB output for the HD SDI it still limits white balance, etc…. for recording to an external device??

Andy…do you have any modified LUTs that I could download and install on my f3? The internal stock LUTs are awful and would love to try yours. Mainly some with deeper contrast.

http://twitter.com/AndyShipsides Andy Shipsides

I posted some here – http://blog.abelcine.com/2012/03/19/s-log-and-the-f3-–-part-4-in-camera-look-up-tables/ – But you can’t do much in camera because it only support 2D LUTs.

Andy

http://twitter.com/AndyShipsides Andy Shipsides

If you turn on the 422 1.5GB & Slog setting then it sets you to S-Log mode and locks out white balance etc. If you set the output to 422 & Video, then you can turn on S-Log in the Picture Profile menu. Even though it says ‘video’ you are outputting S-log.

Ruff

Thats why I gave up on Sony and bought Red’s… It’s in the Sony business model to screw over early adopters

Lasikdenver

There is a huge difference between this S-Log and the one with the purchased key. Here the look is “baked in” to the file, such as crushing the blacks, or if it is pure S-Log then you do not get the benefit of seeing it with a LUT or EI. With the Key you can record the pure S-Log for later maximal grading while still view the footage modified to how you will want it to look, and this is saved to the SxS card as a backup. For instance, the “Andy DeLog LUT” I just discovered and it is really nice. I can only imagine using this picture profile version if either my external recorder was not available and I had to save to SxS card only or if it was important to white balance. This is like an improved JPEG image whereas the key version S-Log is more like a RAW still image with JPEG preview (not exactly). Andy, do you agree, would you use this new capability very often if you had the key and could take advantage of the LUT’s and EI?

Rob Wilton

Hey Andy,
Im going to play with your LUTs at the end of the week when I get my hands on the camera. One question though, do your LUTs compress the highlights in any way? I’d love to have look that has all the highlight information of a flat S-log look but with the mid tone boost and black crush of a mild REC 709 look. Is this what your AB Slog Range does? thanks for a great post!
Rob Wilton

http://twitter.com/AndyShipsides Andy Shipsides

I agree, if you have the key then you get the LUTs and EI modes, which are a real benefit. Thanks for the great notes.

http://twitter.com/AndyShipsides Andy Shipsides

I have a variety of LUTs based on Sony’s HyperGamma curves. Most clip the highlights to some extent, but you can of course bring them back with an additional correction. The AB-Slog profile does crush the blacks and add more color, but it does not have the same boost in the mid tones that you get off the LUT. There is no perfect solution, but hopefully they can work as solid starting points.

Shenderson62

I am glad I am not the only one disappointed with Sony and this SLog ripoff. I still cannot believe they have betrayed some loyal customers. There are still no plans to compensate the ones who purchased the SLog for $3660?

Hi Andy,
thanks for getting back. My 1 post got lost somewhere!
I am shooting a feature film in October. The production company has its own F3 with the S-Log Key installed.
I was shooting mostly C300 over the last months so was not in the loop with all the S-Log stuff new to the F3.
I was playing around with the F3 yesterday and after reading your post and using your S-Log and AB S-Log in the camera there are some things I am not sure about.
First problem was solved with one of your answers. The HD SDI Output 422 1.5GB &Slog didn’t work with the Pictureprofile Slog. So when I change this setting to 422&Video I am abel to use this port again? Meaning on the one hand I can do whitebalance and use all the other functions of the camera again. On the other hand I do have a clean output for recording with our blackmagic shuffle2. Set to 422&Video, using Slog Picturestyle mode I still output 422 10bit slog files via HD SDI out, just like in Slog-Key Mode?!
So via SDI out I could put all display stuff on again.
When using the AB Slog some of your adjustments are baked in, just like the white balance, even though I am in Slog? Is that right?
Sorry for being so pedant about this, it`s just that the company always used the camera the Slog key way and now I am new to a project and everything is changing;-) It´s just very nice to have the option of white balancing again! I would prefer to go this way. Still using Slog(in pictureprofile) to give post production all opportunities.
They also say they never used the camera with more than 9db. As I saw in your post you were still very happy with the results using 18db. Is it right that the F3 is loosing resolution when going to higher db settings???? Thats the story here right now and actually I have no clue how to test that!
We are planing to shoot some documentary style parts for the movie on the Octoberfest here in Munich. So it`s not possible to bring in a lot of lights.
Sorry for being so long. But you are of such great help always.
It`s not so easy to get sophisticated support over here in Germany. Especially when the camera is production owned.
Looking forward to your answer and wish you all the best.
Tobi

Tobi Corts

Hello Andy, a lot of confusion around here. Did you get my second question post? Can`t find any answer here?
Shooting starts end of next week. I would really appreciate some short tips.
Sincerely,
Tobi

http://twitter.com/jeffleephoto Jeff Lee

Hi Tobi-

When you’re using the new SLog Picture Profile, your dual link output should be set to 422 1.5G & Video. This way you can set your white balance while still outputting a clean signal to your external recorder. With SLog Picture Profile, you can tweak other settings like the matrix, detail level, and white balance, whereas traditional SLog mode does not allow you to make any such adjustments. However, traditional SLog give you the options for LUTs and EI mode.

You can still get your on-screen displays to output via the standard SDI output in either mode for your client / AC monitor.

White balance is always “baked in”, regardless of which SLog mode you choose. You can make some white balance adjustments in post, but remember, you’re shooting LOG, not RAW. Hope this helps!

Tobi Corts

Hi Jeff,
thank you very much for the answer! That helps. So I have to sort out which way to go.

Stephen

how do i download all of those picture profiles?
the links dont work now!

Stephen

ohhh it downloaded it to my download folder – haha – sorry my bad!

http://www.facebook.com/people/Leonard-Levy/1377333424 Leonard Levy

Andy , I haven’t had a chance to try your AB-Slog setting yet but I’m wondering how it treats flesh tones. Specifically alot of people prefer sLog because of the way it treats faces making them more natural looking. Does your technique of adding chroma and dropping blacks affect that?
Also is AB S-log something you could hand a client who doesn’t want to do anything but minor color correction – will it look useable right out of the box?

http://twitter.com/AndyShipsides Andy Shipsides

Leonard

I didn’t alter the skin tones much in my AB-Slog setting, just increased color overall. So S-log has the same affect on skin as you would normally see. The goal of the setting was to help speed up the process of post correction a bit. Technically you should De-Log the footage still but you could probably get away with minor correction.

Andy

JG

Interesting as I look back on this 2.5 years later, still using the F3 and still using the S-Log AB setting, but have been without thinking about it putting the footage into the Cineon space LUT and then to Rec 709 LUT trying to get an F35 type workflow. Perhaps I should have been using straight S-Log for this, but the videos are very saturated with nice colors and need virtually no additional processing beyond these post processing adjustments. I do as you mention push the exposure up slightly from true S-log. Any thoughts?

http://www.abelcine.com/ AbelCine

Reply from Ian, one of our Tech Specialists:
—–
Sounds like you are applying a double LUT to the footage. The settings for the F3 Picture Profile are adding color into a S-Log2 recording. You should be able to add the S-Log2 LUT to REC 709 and have a finished look. Log Cineon is a separate log gamma response that is used in Alexa. If the results are to your liking then so be it. However typically double puts will create footage super saturated and can produce unwanted color shifts. The intention of the Picture Profile was to be able to have the dynamic range of LOG while at the same time have minimal color correction on the post end.
—
If you have any further questions, feel free to email our techsupport team directly at techsupport[at]]abelcine[.]com

JG

Thanks Ian. I know this workflow was designed more for the Sony F5 (S-Log1) which is what the F3 is running to get to Cineon and then Rec709 in order to emulate the “Alexa Look”. I found it on a site from Dennis Hingsburg on DVX and his blog. I modified it slightly using the AB version of S-Log which does increase saturation/warmth and works nicely for fashion video shoots as can be seen here for example: http://www.fashionsnag.com/blog/2014/12/snow-bunny.html

Sebastian Neville

JG I am also using my F3 with an external recorder. Is there a way we can talk by phone or email? please let me know. Thanks